American In Paris, An (1951) -- (Movie Clip) Our Love Is Here To Stay You will receive an email shortly to confirm your email address. American In Paris, An (1951) -- (Movie Clip) Our Love Is Here To Stay title details and video sharing options now playing American In Paris, An (1951) -- (Movie Clip) Our Love Is Here To Stay On the banks of the (MGM soundstage) Seine, painter Jerry (Gene Kelly) and ingenue Lise (Leslie Caron) do their romantic number set to Gershwin's "Our Love Is Here To Stay," in An American In Paris, 1951. View the TCMDb entry for An American in Paris (1951) share video American In Paris, An (1951) -- (Movie Clip) Our... On the banks of the (MGM soundstage) Seine, painter Jerry... American In Paris, An (1951) -- (Movie...

American In Paris, An (1951) -- (Movie Clip) Our Love Is Here To Stay On the banks of the (MGM soundstage) Seine, painter Jerry (Gene Kelly) and ingenue Lise (Leslie Caron) do their romantic number set to Gershwin's "Our Love Is Here To Stay," in An American In Paris, 1951.> American in Paris, An (1951) -- (Movie Clip)... The opening sequence from Vincente Minnelli's An American in... American in Paris, An (1951) -- (Movie... American in Paris, An (1951) -- (Movie Clip) Opening, This Is Paris The opening sequence from Vincente Minnelli's An American in Paris, 1951, which offers a brief tour of Paris and introduces "Jerry," the Gene Kelly character.> American in Paris, An (1951) -- (Movie Clip) A... Variations on Gershwin's "Embraceable You" support Henri... American in Paris, An (1951) -- (Movie...

American in Paris, An (1951) -- (Movie Clip) A Simple Girl Variations on Gershwin's "Embraceable You" support Henri (Georges Guetary) as he describes his girlfriend Lise (Leslie Caron) to Adam (Oscar Levant) in a fantasy musical sequence in An American In Paris 1951.> American in Paris, An (1951) -- (Movie Clip) Third... Jerry (Gene Kelly), an ex-G-I and sidewalk artist, meets art... American in Paris, An (1951) -- (Movie... American in Paris, An (1951) -- (Movie Clip) Third Year Girls Jerry (Gene Kelly), an ex-G-I and sidewalk artist, meets art patron Milo (Nina Foch) on the street in Vincente Minnelli's An American In Paris, 1951, Noel Neill the derided American student.> American in Paris, An - (Original Trailer) American in Paris, An Gene Kelly is a painter living abroad in...

American in Paris, An - (Original Trailer) An American artist finds love in Paris in the Oscar®-winning musical romance, An American in Paris starring Gene Kelly.> American In Paris, An (1951) -- (Movie Clip)... Probably the only time the ubiquitous wit and piano virtuoso... American In Paris, An (1951) -- (Movie... American In Paris, An (1951) -- (Movie Clip) Adam's Fantasy Probably the only time the ubiquitous wit and piano virtuoso Oscar Levant (as "Adam") ever got five minutes alone on screen, in a fantasy of himself conducting and playing (his pal George) Gershwin's "Concerto in F," from An American In Paris, 1951.> American In Paris, An (1951) -- (Movie Clip) I Got... Gene Kelly (as "Jerry") with his own choreography and the... American In Paris, An (1951) -- (Movie...

American In Paris, An (1951) -- (Movie Clip) I Got Rhythm Gene Kelly (as "Jerry") with his own choreography and the neighborhood kids, does some language instruction with George Gershwin's "I Got Rhythm," in An American In Paris, 1951.> Ben Mankiewicz Intro -- An American In Paris... Ben Mankiewicz introduces An American In Paris, 1951. Ben Mankiewicz Intro -- An American In... Ben Mankiewicz Intro -- An American In Paris (1951) Ben Mankiewicz introduces An American In Paris, 1951. > Ben Mankiewicz Intro -- An American In Paris... Ben Mankiewicz introduces An American In Paris, 1951. Ben Mankiewicz Intro -- An American In... Ben Mankiewicz Intro -- An American In Paris (1951) Ben Mankiewicz introduces An American In Paris, 1951.

> An American in Paris, 1951 - YouTube An American in Paris, 1951 34,118 views Last updated on Jun 22, 2014 'An American in Paris' is a 1951 MGM musical film starring Gene Kelly, Leslie Caron, Oscar Levant, Georges Guetary, and Nina Foch. The film is set in Paris, and was directed by Vincente Minnelli from a script by Alan Jay Lerner. The music is by George Gershwin, with lyrics by his brother Ira, with additional music by Saul Chaplin, the music director. The story of the film is interspersed with dance numbers choreographed by Gene Kelly and set to Gershwin's music. Songs and music include "I Got Rhythm", "I'll Build A Stairway to Paradise", " 'S Wonderful", and "Our Love is Here to Stay". The climax of the film is "The American in Paris" ballet, a 16 minute dance featuring Kelly and Caron set to Gershwin's An American in Paris.

less 'An American in Paris' is a 1951 MGM musical film starring Gene Kelly, Leslie Caron, Oscar Levant, Georges Guetary, and Nina Foch. The film is set in Paris, and was directed by Vincente Minnelli from a script by Alan Jay Lerner. The music ... more An American in Paris (1951) - IMDb IMDb There was an error trying to load your rating for this title. Some parts of this page won't work property. Please reload or try later. X Beta I'm Watching This! Keep track of everything you watch; tell your friends. Error An American in Paris ( 1951 ) Passed | From $2.00 (SD) on Amazon Video ON DISC Three friends struggle to find work in Paris. Things become more complicated when two of them fall in love with the same woman.

Director: Alan Jay Lerner (story by), Alan Jay Lerner (screen play by) Stars: a list of 32 titles created 11 Sep 2011 a list of 46 titles created 15 Jul 2012 a list of 24 titles created 30 Aug 2013 a list of 48 titles created 2 months ago a list of 35 titles created 1 week ago Title: An American in Paris (1951) 7.2/10 Want to share IMDb's rating on your own site? Use the HTML below. You must be a registered user to use the IMDb rating plugin. Won 6 Oscars. Another 4 wins & 7 nominations. See more awards » Videos Weary of the conventions of Parisian society, a rich playboy and a youthful courtesan-in-training enjoy a platonic friendship, but it may not stay platonic for long. Director: Vincente Minnelli Two youngsters from rival New York City gangs fall in love, but tensions between their respective friends build toward tragedy.

Directors: Jerome Robbins, Robert Wise Stars: Natalie Wood, George Chakiris, Richard Beymer In Hawaii in 1941, a private is cruelly punished for not boxing on his unit's team, while his captain's wife and second-in-command are falling in love. Director: Fred Zinnemann Three sailors on a day of shore leave in New York City look for fun and romance before their twenty-four hours are up. Directors: Stanley Donen, Gene Kelly Stars: Gene Kelly, Frank Sinatra, Betty Garrett The rise and fall of a corrupt politician, who makes his friends richer and retains power by dint of a populist appeal. Director: Robert Rossen A middle-aged butcher and a school teacher who have given up on the idea of love meet at a dance and fall for each other. Director: Delbert Mann Midshipman Roger Byam joins Captain Bligh and Fletcher Christian aboard HMS Bounty for a voyage to Tahiti. Bligh proves to be a brutal tyrant and, after six pleasant months on Tahiti, ...

See full summary » Director: Frank Lloyd Youthful Father Chuck O'Malley led a colorful life of sports, song, and romance before joining the Roman Catholic clergy, but his level gaze and twinkling eyes make it clear that he knows ... See full summary » Director: Leo McCarey A British family struggles to survive the first months of World War II. Director: William Wyler A reporter pretends to be Jewish in order to cover a story on anti-Semitism, and personally discovers the true depths of bigotry and hatred. Director: Elia Kazan The biopic of the famous French muckraking writer and his involvement in fighting the injustice of the Dreyfuss Affair. Director: William Dieterle A silent film production company and cast make a difficult transition to sound. Directors: Stanley Donen, Gene Kelly Stars: Gene Kelly, Donald O'Connor, Debbie Reynolds Edit Storyline Jerry Mulligan, a struggling American painter in Paris, is "discovered" by an influential heiress with an interest in more than Jerry's art. Jerry in turn falls for Lise, a young French girl already engaged to a cabaret singer.

Jerry jokes, sings and dances with his best friend, an acerbic would-be concert pianist, while romantic complications abound. Written by Scott Renshaw <as.idc@forsythe.stanford.edu> See All (66) » Taglines: Adventures Of An Ex-GI In The City Of Romance. Art Students' Ball Biggest, Most Daring Ever Filmed. Screen's Most Spectacular Musical! See more » Genres: 11 November 1951 (USA) See more » Also Known As: Ein Amerikaner in Paris See more » Filming Locations: Mono (Western Electric Sound System) Color: Did You Know? Trivia A famous painter was hired to create the paintings that Gene Kelly displays on the streets of Paris. See more » Goofs When Jerry and Lise walk down the riverside together, Jerry leaves his coat by the tree. See more » Quotes [first lines] Jerry Mulligan : This is Paris, and I'm an American who lives here. My name is Jerry Mulligan, and I'm an ex G.I. In 1945 when the army told me to find my own job, I stayed on.

And I'll tell you why: I'm a painter, and all my life that's all I've ever wanted to do. (Somerville, NJ) – See all my reviews In the year of distribution (1951) of An American in Paris, I had just been married. My husband and I saw the film, and laughed and cried over it. We enjoyed the spectacular dancing, the vibrant colors of clothes and sets, and the marvelous Gershwin music. We both swore that someday we would get to Paris. Sadly, it was not to be for us, as my husband, Thanos, died 24 years later, having been sick for many years. The following year an old friend invited me to visit him while he was on sabbatical from school. He had spent many years in Paris, teaching English there, and rented a little house in Neuilly. I said no, but all my friends said "GO! It's the opportunity of a lifetime." So I did, and fell in love with that glorious old city. I cried because Thanos was not with me, and yet I felt he knew I had come here for both of us, and was glad for me.

I have since visited the City of Light 5 times, and love it so very much. I am now too old and too disabled to do any more world traveling, but that city of romance is something that will always remind me of Thanos. That's why I still love to see the youthful Gene Kelly and Leslie Caron falling in love as WE were once young and in love - and the glorious city of Paris - the most beautiful place in the world! 57 of 69 people found this review helpful. Was this review helpful to you? Yes An American in Paris (1951) Pages: ( 1 ) ( 2 ) Background An American in Paris (1951) is one of the greatest, most elegant, and most celebrated of MGM's 50's musicals, with Gershwin lyrics and musical score (lyrics by Ira and music by composer George from some of their compositions of the 20s and 30s), lavish sets and costumes, tremendous Technicolor cinematography, and a romantic love story set to music and dance.

Gene Kelly served as the film's principal star, singer, athletically-exuberant dancer and energetic choreographer - he even directed the sequence surrounding "Embraceable You." The entire film glorifies the joie de vivre of Paris, but it was shot on MGM's sound stages in California, except for a few opening, establishing shots of the scenic city. Nonetheless, it remains one of the most optimistic American films of the post-war period - with Paris at its center. The film brought eight Academy Award nominations and won six of them - none of which were for acting: Best Picture (Arthur Freed, producer), Best Story and Screenplay (Alan Jay Lerner), Best Color Cinematography, Best Color Art Direction/Set Decoration, Best Musical Score, and Best Color Costume Design. Its nominations for director (Vincente Minnelli) and Film Editing were unrewarded.

Gene Kelly received an Honorary Award from the Academy the same year, presumably for his contributions to this film - it was presented "in appreciation of his versatility as an actor, singer, director and dancer, and specifically for his brilliant achievements in the art of choreography on film." Nineteen year-old Leslie Caron made her film debut as the young Parisian mademoiselle. It was one of only a few Best Picture winners with no acting nominations. An American in Paris was only the third musical to win Best Picture. The two previous winners were: The Broadway Melody (1929) and The Great Ziegfeld (1936). The film was also the first to win a Golden Globe award for Best Motion Picture (comedy or musical) - a newly-created category - in the 1952 awards ceremony. An American in Paris - and Gigi (1958), were among Minnelli's most successful films, and two rare nuggets of gold among MGM's Golden Age of Musicals.

[The Arthur Freed unit at MGM Studios was well known for its production of other wonderful films: Singin' in the Rain (1952) that re-invented the musical in the 1950s, and Minnelli's own Meet Me in St. Louis (1944) , The Pirate (1948) and The Bandwagon (1953), among others.] It is an integrated musical, meaning that the songs and dances blend perfectly with the story. As in many musicals, the plot of this film is not its most important element. One of the film's highlights is its impressive finale - an ambitious, colorful, imaginative, 13 minute avante-garde "dream ballet" costing a half million dollars to produce. The pretentious sequence, featuring an Impressionistic period daydream in the style of various painters, is one of the longest uninterrupted dance sequences of any Hollywood film, and features the music of George Gershwin.

[The success of the balletic themes in Michael Powell and Emeric Pressburger's British film The Red Shoes (1948) inspired Minnelli to follow suit - he had experimented with shorter ballet sequences in his earlier films Yolanda and the Thief (1945) and Ziegfeld Follies (1946).] The Story After the credits and a brief travelogue of Paris, a voice-over describes the setting: This is Paris. And I'm an American who lives here. My name, Jerry Mulligan, and I'm an ex-GI. In 1945, when the Army told me to find my own job, I stayed on. And I'll tell you why. I'm a painter. All my life that's all I've ever wanted to do. Carefree, but struggling and penniless young artist, ex-GI Jerry Mulligan (Gene Kelly) has remained in Paris following World War II to paint and study art. He explains the lure of Paris: And for a painter, the Mecca of the world for study, for inspiration, and for living is here on this star called Paris. Just look at it. No wonder so many artists have come here and called it home.

Brother, if you can't paint in Paris, you'd better give up and marry the boss' daughter. We're on the Left Bank now. That's where I'm billeted. Here's my street. In the past couple of years, I've gotten to practically know everyone on the block. And a nicer bunch you'll never meet. He provides another view of why he came to Paris to study painting: Back home, everyone said I didn't have any talent. They might be saying the same thing over here, but it sounds better in French. I live upstairs. No, no, no, not there. One flight up. Voila. Jerry who lives on the Left Bank, appears lighthearted and optimistic. He is happy to be living and working in an efficiently-organized but cramped apartment two flights above a cafe in a Montmartre garret. He is first seen through the window of his cramped and confining space. He uses many "Rube Goldberg"-like mechanical contrivances in a choreographed set of actions to save space - a rope tugs his bed up out of the way, and a shelf folds up to make a table.

He is popular with the neighbor kids because he gives them American bubble-gum. One of his "very good friends in Paris" introduces himself in voice over: Adam Cook is my name. I'm a concert pianist. That's a pretentious way of saying I'm unemployed at the moment. With sardonic wit and a droll, morose sense of humor, aspiring American concert pianist Adam Cook (Oscar Levant) explains that he has won his eighth scholarship/fellowship to study abroad, is homesick and feels like "the world's oldest child prodigy." Jerry's Montmartre friend describes his mordant character: It's not a pretty face, I grant you, but underneath its flabby exterior is an enormous lack of character. I like Paris. It's a place where you don't run into old friends, although that's never been one of my problems. Adam used to work as an accompanist fifteen years earlier for successful music-hall star entertainer Henri Baurel (Georges Guetary in his only American film appearance). Henri pauses before a mirror to assure himself that he is still the dapper-looking music hall idol of years earlier, even though he is aging.

Henri excuses his graying hair and older age: Let's just say I'm old enough to know what to do with my young feelings. Adam plays piano in the nearby downstairs bistro. There, Henri shows Adam a picture of his 19 year old girlfriend/fiancee Lise Bouvier (young teen Leslie Caron in her screen debut), a beautiful dancer who works in a French perfume shop. He had rescued her from the Nazis years earlier when her father was a Resistance leader and she was orphaned. Henri raised her in his own home. Adam makes the obvious point: "Shocking degenerate." Henri explains how he grew to love her after she blossomed into womanhood: "She was a little girl then. We only became in love after she left." Adam is skeptical of the age discrepancy: "She's a little young for you, isn't she kid?" Lise is described as a fun loving dancer, with great vitality and enchanting beauty: "She has great vitality, joi de vivre, she loves to go out and have fun and dance. She would dance all night...She's an enchanting girl, Adam. Not really beautiful.

And yet, she has great beauty." As Henri tries to explain to Adam what Lise is really like, we see five different aspects of her personality, conveyed in a montage of dance styles, costumes and color schemes or settings projected on a cafe mirror. Each balletic vignette is danced and scored to "Embraceable You," each with a different Gershwin tune. Lise conveys five guises, moods, styles, or aspects of her character: exciting or sexy, sweet and shy, vivacious and modern, studious while reading, and gay or athletic. At the end of the descriptions, the screen splits into five diamond-shaped parts to show images of all five vignettes, all from Henri's subconscious imagination. In the cafe, Jerry is introduced to Henri, Adam's friend. Jerry struggles to sell his paintings in Montmartre. His first potential customer is appalled by the lack of perspective in his paintings, and he tells her to move on. She is labeled as "one of those third year girls who gripe my liver...You know, American college kids. They come over here to take their third year and lap up a little culture...They're officious and dull.

They're always making profound observations they've overheard." Jerry's fortunes appear bright when he is discovered by Milo Roberts (Nina Foch), a wealthy, attractive American patroness who purchases two of his paintings - to his complete surprise. When he questions her name, she breezily explains it to him: "As in Venus de." Jerry is driven in her chauffeured green car to her hotel to be paid. He accepts a drink of sherry, and learns she acquired her wealth as an heiress to a sun-tan oil empire, clarifying: "There's a lot of red skin in America." She smoothly invites him to a small party in her hotel room later that evening. She hopes to win Jerry's heart by buying his paintings, promoting his career, and helping to sponsor him in the Paris art world. After teaching a streetful of adorable Parisian children some American words, Jerry exuberantly tap dances and teaches them to sing an American song, "I Got Rhythm," partly in French and partly in English, while he dances and leaps down the block. At Milo's party, Jerry appears to be the only guest.

He admires the would-be patron's one-shouldered white gown in one of the film's most famous lines: That's, uh, quite a dress you almost have on. What holds it up? She cleverly replies "modesty," and they share a drink. Jerry: I see it's a formal brawl after all. Milo: What makes you think that? Jerry: Well, the more formal the party is, the less you have to wear. Milo: Oh, no. You're quite wrong. It's most informal. Jerry: Where is everybody? 'An American in Paris' Finds Broadway Home | Hollywood Reporter 'An American in Paris' Finds Broadway Home 1:44 PM PDT 7/17/2014 by Ashley Lee , David Rooney COMMENTS "An American in Paris" The musical adaptation of the 1951 Gene Kelly film will begin previews in March, following its world premiere in Paris. NEW YORK — An American in Paris is moving from Paris to America in March. Based on the 1951 film, the new musical will begin previews on March 13, following its world premiere in the French capital at Theatre du Chatelet in December.

The show's official Broadway opening is set for April 12. The film-to-stage adaptation will move into the Palace Theatre, which currently houses the last few shows of Holler If You Hear Me, featuring the music of Tupac Shakur. LIST The Hollywood Reporter Reveals Hollywood's 100 Favorite Films Showcasing songs by George and Ira Gershwin, the show is being adapted by Craig Lucas (The Light in the Piazza), with distinguished former New York City Ballet soloist Christopher Wheeldon set to make his Broadway debut as director-choreographer. The story follows a World War II U.S. Army veteran looking to start a new life as a painter in Paris. A wealthy patroness takes him under her wing, but complications ensue when he falls for a young French girl with her own romantic entanglements. Directed by Vincente Minnelli from a script by Alan Jay Lerner, the movie starred Gene Kelly, Leslie Caron and Oscar Levant. It won six Oscars, including best picture.

PHOTOS Hollywood Onstage: Bradley Cooper, Glenn Close, Matthew Broderick Headline NYC's 2014-15 Season The creative team for the Broadway production includes Bob Crowley (sets and costumes), Natasha Katz (lighting) and Jon Weston (sound), with Rob Fisher adapting and supervising the musical score. Songs featured in the show will include such standards as "I Got Rhythm," "S'Wonderful," "But Not for Me," "Stairway to Paradise," "Our Love Is Here to Stay" and "They Can't Take That Away," as well as Gershwin orchestral music. Casting will be announced at a later date. Email: Ashley.Lee@THR.com Leslie Caron - Biography - IMDb Leslie Caron Jump to: Overview (3) | Mini Bio (2) | Spouse (3) | Trivia (23) | Personal Quotes (2) Overview (3) 5' 1½" (1.56 m) Mini Bio (2) Actress and dancer. Gene Kelly got her to the movies for the film An American in Paris (1951) in 1951.

Got a world-wide reputation for her roles in Lili (1953) (1953) and Gigi (1958) (1958). - IMDb Mini Biography By: Oliver Heidelbach French ballet dancer Leslie Caron was discovered by the legendary MGM star Gene Kelly during his search for a co-star in one of the finest musicals ever filmed, the Oscar-winning An American in Paris (1951), which was inspired by and based on the music of George Gershwin . Leslie's gamine looks and pixie-like appeal would be ideal for Cinderella-type rags-to-riches stories, and Hollywood made fine use of it. Combined with her fluid dancing skills, she became one of the top foreign musical artists of the 1950s, while her triple-threat talents as a singer, dancer and actress sustained her long after musical film's "Golden Age" had passed. Leslie Claire Margaret Caron was born in France on July 1, 1931. Her father, Claude Caron, was a French chemist, and her American-born mother, Margaret Petit, had been a ballet dancer back in the States during the 1920s.

Leslie herself began taking dance lessons at age 11. She was on holidays at her grandparents' estate near Grasse when the Allies landed on the 15th of August 1944. After the German rendition, she and her family went to Paris to live. There she attended the Convent of the Assumption and started ballet training. While studying at the National Conservatory of Dance, she appeared at age 14 in "The Pearl Diver," a show for children where she danced and played a little boy. At age 16, she was hired by the renowned Roland Petit to join the Ballet des Champs-Elysees, where she was immediately given solo parts. Leslie's talent and reputation as a dancer had already been recognized when on opening night of Petit's 1948 ballet "La Rencontre," which was based on the theme of Orpheus and featured the widely-acclaimed dancer 'Jean Babilee', she was seen by then-married Hollywood couple Gene Kelly and Betsy Blair .

Leslie did not meet the famed pair at the end of the show that night as the 17-year-old went home dutifully right after her performance, but one year later Kelly remembered Leslie's performance when he returned to Paris in search for a partner for his upcoming movie musical An American in Paris (1951). The rest is history. Kelly and newcomer Caron's touching performances and elegant and exuberant footwork (especially in the "Our Love Is Here to Stay" and "Embraceable You" numbers, as well as the dazzling 17-minute ballet to the title song) had critics and audiences simply enthralled. The film, directed by Vincente Minnelli , won a total of six Oscar awards, including "Best Picture," plus a Golden Globe for "Best Picture in a Musical or Comedy". Leslie was put under a seven-year MGM contract where her luminous skills would also be featured in non-musical showcases.

While Leslie's dramatic mettle was tested as a New Orleans nightclub entertainer opposite Ralph Meeker 's boxer in Glory Alley (1952) and as a French governess in The Story of Three Loves (1953), it was as the child-like urchin who falls for a cruel carnival puppeteer ( Mel Ferrer ) in Lili (1953) that finally lifted Leslie to Academy Award attention. The film, which went on to inspire the Tony-winning Broadway musical "Carnival," earned Leslie not only an Oscar nomination, but the British Film Award for "Best Actress" as well. At her waif-like best once again in the musical Daddy Long Legs (1955), Leslie was paired this time with the "other" MGM male dancing legend Fred Astaire . The story, which unfolded in an appealing Henry Higgins/Eliza Dolittle style, was partly choreographed by Roland Petit , who founded the Ballet des Champs-Elysees, Leslie's former dance company.

While the actress gave poignant life to the ugly-duckling-turned-swan tale, The Glass Slipper (1955), choreographed by Petit and co-starring Britisher Michael Wilding as Prince Charming, Leslie also played a ballerina in love with WWII soldier John Kerr in Gaby (1956), a lukewarm remake of the superior Waterloo Bridge (1940). It took another plush musical classic, Gigi (1958), to remind audiences once again of Leslie's unique, international appeal. Audrey Hepburn , who had played the title part on Broadway, was keen on doing the film, but producer Arthur Freed wrote the part expressly for Leslie. It was also Freed who called up Fred Astaire to suggest her as his leading lady in Gigi (1958). Leslie tried the role out on the London stage prior to doing the film version. The musical wound up receiving nine Academy Awards, including "Best Picture," and Leslie herself was nominated for a Golden Globe as "Best Musical/Comedy Actress". A few more forgettable film roles came and went until she returned triumphantly in a non-musical adaptation of a highly successful 1954 Broadway musical.

The film version of Fanny (1961) was more adult in nature for Leslie and was blessed with gorgeous cinematography, a touching script and the continental flavor of veterans, Maurice Chevalier , Charles Boyer , and Horst Buchholz . At the movie's centerpiece is a child-like Leslie (at age 30!) who is mesmerizing as a young girl with child who is deserted by her sailor/boyfriend. Even more adult in scope was the shattering British drama The L-Shaped Room (1962) wherein the actress plays a pregnant French refugee who is abandoned yet again. She earned her a second British Academy Award and a second Oscar nomination for this superb performance. On stage in London with the Royal Shakespeare Company, Leslie earned applause in another Audrey Hepburn Broadway vehicle, "Ondine," in 1961.

While the mid-1960s and 1970s saw her film career take a Hollywood detour into breezy comedy with a number of lightweight fare opposite the likes of Rock Hudson , Cary Grant and Warren Beatty , she managed to shine with a complex working class mother role in the remarkable Italian film Il padre di famiglia (1967) starring Nino Manfredi and Ugo Tognazzi , and was spotted in the popular crossover film Valentino (1977) starring iconic Russian ballet star Rudolf Nureyev . In the 1980s, Leslie appeared in stage productions of "Can-Can", "On Your Toes" and "One for the Tango". She also was invited and accepted to appear on American TV. At the age of 75, the actress won her first Emmy Award with her very moving portrayal of an elderly woman and closeted rape victim in a 2006 episode of Law & Order: Special Victims Unit (1999).

More recent filming have included Damage (1992) by Louis Malle , Chocolat (2000) by Lasse Hallström , and the Merchant Ivory romantic comedy/drama The Divorce (2003). Leslie's private life has been more turbulent than expected. She is divorced from the late meat packing heir and musician Geordie Hormel ; from avant-garde Royal Shakespeare director Peter Hall , by whom she has two children, Christopher and Jennifer (both of whom have careers in the entertainment field); and from her Chandler (1971) movie producer Michael Laughlin . One of the few MGM post-musical stars to enjoy a long, lasting and formidable dramatic career, Leslie Caron is still continuing today though on a more limited basis. She has received a number of Life Achievement Awards for her contributions to both film and dance. In 2008, the actress published her memoirs, "Thank Heaven," later translated to French as "Une Francaise à Hollywood". In 2010, she again triumphed on the Chatelet Theater stage in Paris with her portrayal of Madame Armfeldt in Stephen Sondheim 's "A Little Night Music".

An American in Paris | Variety Print August 29, 1951 | 12:00AM PT Metro has another sock boxoffice winner in "An American in Paris." Film is one of the most imaginative musical confections turned out by Hollywood in years, spotlighting Gene Kelly, Oscar Levant, Nina Foch, and a pair of bright newcomers (Leslie Caron and Georges Guetary) against a cavalcade of George and Ira Gershwin's music. While it may not achieve quite the record runs racked up this season by M-G's "Great Caruso" and "Show Boat," it will tag right behind them to help widen that new exhibitor smile even more. Metro has another sock boxoffice winner in “An American in Paris.” Film is one of the most imaginative musical confections turned out by Hollywood in years, spotlighting Gene Kelly , Oscar Levant, Nina Foch, and a pair of bright newcomers (Leslie Caron and Georges Guetary) against a cavalcade of George and Ira Gershwin’s music.

While it may not achieve quite the record runs racked up this season by M-G’s “Great Caruso” and “Show Boat,” it will tag right behind them to help widen that new exhibitor smile even more. Kelly is the picture’s top star and rates every inch of his billing. His diversified dancing is great as ever and his thesping is standout. But he reveals new talents in this one with his choreography. There’s a lengthy ballet to the film’s title song for the finale, which is a masterpiece of design, lighting, costumes and color photography. It’s a unique blending of classical and modern dance with vaude-style tapping, which will undoubtedly trailblaze new terp techniques for Hollywood musicals. British-made “Red Shoes” and “Tales of Hoffman,” of course, have initiated American art house patrons to such work but this one will hit the mass audience–and it’s going to hold ’em completely entranced. In Miss Caron and Guetary Metro has two potential starring possibilities who underscore that studio’s new stress on new faces. Miss Caron is a beauteous, lissome number with an attractively pert personality and plenty of s.a.

She scores neatly with her thesping, particularly in the appealing love scenes with Kelly, and displays standout dancing ability. Guetary is better known in Europe for his legit and nitery work, although he co-starred on Broadway last year with Nanette Fabray in “Arms and the Man,” and demonstrates a socko musicomedy tenor and okay acting talents. He’s cast neatly as the older man whom Caron almost marries out of gratitude, and it’s a surefire role for his intro to films. (Metro, incidentally, offered the role originally to Maurice Chevalier but the latter mixed it–which is a good break for Guetary.) Story and screenplay by Alan Jay Lerner is a sprightly yarn about an American GI (Kelly) who stayed on in Paris after the war to further his art study. While Gershwin wrote his “American in Paris” suite on the basis of his own experiences in that city, the film is not a biopic of him and thus is in no way reminiscent of Warners’ 1947 “Rhapsody in Blue,” which starred Robert Alda as the composer.

In fact, “Rhapsody” is the only major Gershwin number not played in the film. Levant, in “American,” plays an impoverished American concert pianist, but only by the farthest stretch of the imagination could he be thought of in terms of Gershwin. While he naturally scores with his pianistics, especially “Concerto in F,” he has a straight comedy role. Film picks up Kelly as the happy-go-lucky Yank, who’s the fave of the nabe in his poor Montmarte quarters. Miss Foch, as a wealthy American playgal, “discovers” his art talents and takes him on as her protégé to add him to her retinue of lovers. Kelly accepts the idea warily but then meets and falls for Miss Caron. She’s a poor gal who is getting ready to marry Guetary, a musichall star, because he saved her from the Nazis during the war.

At the colorful Beaux Arts ball, she tells Kelly about her impending wedding, which sets the scene for the big ballet (a depiction in Kelly’s mind, told in terms of famous French paintings, of his doleful situation.) Guetary, however, naturally discovers the true situation and bows out of the scene for a happy ending. Story is heightened by some fine characterizations by each member of the cast and Lerner’s hep dialog and situations. Gershwin’s music gets boffo treatment throughout. While some 10 songs get special handling, true Gershwin fans will recognize strains of most of his other tunes in the background score. With the ballet finale, as well as the picture’s innate color, providing top production values, producer Arthur Freed has wisely included only one other major production number–Guetary’s rendition of “Stairway to Paradise” on a musical stage, complete with the femme line and lush sets and costuming. But the other tunes are each excellently projected.

Standout is Kelly’s song-and-dance on “I Got Rhythm,” in which he’s joined by a wonderfully animated group of French moppets; “Embraceable You,” which serves to introduce Miss Caron’s terp talents in highly imaginative style; “By Strauss,” an engaging song-and-dance by Kelly, Guetary and Levant; “Tra-La-La,” done by Kelly and Levant; “Swonderful,” which again projects Kelly and Guetary for top results, and “Our Love Is Here to Stay,” appealingly danced by Kelly and Miss Caron. And then, of course, there’s Levant’s fine solo on the “Concerto” and the terrif “American in Paris” ballet. Full credit goes to director Vincente Minnelli for his meritorious pacing of the story and the sharp way he resins his cast. Production credits lined up by Freed contribute as much to the film’s overall quality as any other factor. Alfred Gilk’s Technicolor camera supervision is tops, and the ballet, specially lensed by John Alton and costumed by Irene Sharaff, is a masterpiece.

Musical direction by Johnny Green and Saul Chaplin, the art work, sets, other costumes by Orry-Kelly and Walter Plunkett and all else involved contribute to make this a great boxoffice film. Stal. 1951: Best Picture, Story & Screenplay, Color Cinematography, Color Art Direction, Score for a Musical Picture, Color Costume Design. Nominations: Director, Editing Andy Williams - Love Is Here To Stay - YouTube Andy Williams - Love Is Here To Stay Want to watch this again later? Sign in to add this video to a playlist. Need to report the video? Sign in to report inappropriate content. Rating is available when the video has been rented. This feature is not available right now. Please try again later. Published on Aug 30, 2012 Love Is Here To Stay by Andy Williams - from 1962 - his version of this Gershwin song from the 1951 musical film "An American In Paris" - staring Gene Kelly and the lovely Leslie Caron Category

Question: Which 1951 Gene Kelly musical film featured the song 'Love Is Here To Stay'?
Answer: 'AN AMERICAN IN PARIS'